Chapter XXIV

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[101] The number of bobbins is generally equal to 50 to each square inch. If the lace be one inch wide, it will have 625 meshes in each square inch, or 22,500 in a yard. The work, therefore, goes on very slowly, though generally performed with the greatest dexterity.

[102] At Gisors, Saint-Denis, Montmorency, and Villiers-le-Bel.--Savary, _Grand Dict. du Commerce_, 1720.

Cotgrave gives, "Bisette, a plate (of gold, silver, or copper) wherewith some kinds of stuffes are stripped." Oudin, "Feuille ou paillette d'or ou d'argent." In these significations it frequently occurs. We find with numerous others:

"1545. 55 sols pour une once bizette d'argent pour mectre à des colletz."

"Six aulnes bizette de soie noire pour mettre sur une robbe, lv. s.," in the Accounts of Madame Marguerite de France. (Bib. Nat.)

"1557. Bizette de soye incarnatte et jaulne pour chamarrer ung pourpoint de satin rouge" of Henry II.--_Cptes. de l'Argentier du Roi._ Arch. Nat. K. K. 106.

"1579. Petite bizette d'or fin dentellez des deux costez pour servir à desmanches de satin cramoisy" of Catherine de Médicis.--_Trésorerie de la royne mère du roy._ Arch. Nat. K. K. 115.

In the Chartley Inv. 1586, of Mary Stuart, is mentioned, "Un plotton de bisette noire."

[103] _Dict. de l'Académie._

[104] Campane, from sonnette, clochette, même grêlot. "Les sonnettes dont on charge les habits pour ornement. Les festons qu'on met aux étoffes et aux dentelles."--_Oudin._

[105] Public Record Office.

[106] In the last century it was much the fashion to trim the scalloped edges of a broader lace with a narrower, which was called to "campaner."

1720. "Une garniture de teste à trois pièces de dentelle d'Angleterre à raiseau, garni autour d'une campane à dents."--_Inv. de la Duchesse de Bourbon._

1741. "Une paire de manches à trois rangs de Malines à raizeau campanée."--_Inv. de decès de Mademoiselle Marie Anne de Bourbon de Clermont._ Arch. Nat. X. 11,071. (Daughter of Mademoiselle de Nantes and Louis Duke de Bourbon.)

"Une coëffure de Malines à raizeau à deux pièces campanée."--_Ibid._

In the lace bills of Madame du Barry, preserved in the Bib. Nat., are various entries of Angleterre et point à l'aiguille, "campanée des deux côtés" for ruffles, camisoles, etc.

[107] 1759. "Huit palatines tant points que mignonettes."--_Inv. de decès de Louise Henriette de Bourbon-Conty, Princesse du Sang, Duchesse de Orléans._ Arch. Nat. X. 10,077.

"Trente-vingt paires de manchettes, quatre coëffures, le tout tant de differents points qu'Angleterre, mignonettes que tulles."--_Ibid._

[108] 1758. "Une paire de manchettes à trois rangs de blonde de fil sur entoilage."--_Inv. de Mademoiselle Louise Anne de Bourbon Condé de Charollais_ (sister of Mademoiselle de Clermont). Arch. Nat. X. 10,076.

1761. "Fichus garnis à trois rangs de blonde de fil sur entoilage."--_Inv. de Charlotte Aglaë d'Orléans, Princesse du Sang, Duchesse de Modène_ (daughter of the Regent).

1789. Ruffles of blonde de fil appear also in the _Inv. de decès de Monseigneur le Duc de Duras_. Bib. Nat. MSS. F. Fr. 11,440.

[109] Mostly at Bayeux.

[110] "On employe aussi pour les coëffures de la mignonette, et on a tellement perfectionné cette dentelle, que estant peu de chose dans son commencement est devenue de consequence et même très chère, j'entends, la plus fine qu'on fait sur de beaux patrons."--_Le Mercure Galant_, 1699.

[111] "Guiper. Tordre les fils pendans d'une frange par le moyen de l'instrument qu'on nomme guipoir, fer crochu d'un côté, et chargé de l'autre d'un petit morceau de plomb pour lui donner du poids."--Savary.

[112] "Guipure. A grosse black thread covered or whipped about with silk."--Cotgrave.

"Guipure. Manière de dentelle de soie où il y a des figures de rose ou d'autres fleurs, et qui sert à parer les jupes des dames.... Sa jupe est pleine de guipure."--_Dict. du P. Richelet._ 1759.

[113] Roland. We cannot help thinking this a mistake. In the statutes of the Passementiers, we find mention of buttons "à têtes de mort," or would it rather be "tête de moire," from the black moire hoods (têtes) worn by the Italian women, which were often edged with a narrow guipure?

[114] Les lieux en France où il se fait le plus de guipures, sont Saint-Denis-en-France, Villiers-le-Bel, Ecouën, Arcelles, Saint-Brice, Groslait, Montmorency, Tremblay, Villepinte, etc.

[115] The sale of Guipures belonged to the master mercers, the workmanship to the passementiers boutonniers. We find in the _Livre Commode ou les Adresses de la Ville de Paris_ for 1692, that "Guipures et galons de soye se vendent sur le Petit Pont et rue aux Febvres, où l'on vend aussi des galons de livrées."

[116] Godefroy. _Le Cérémonial de France_, 1610. _Sacre du Roy Henry II._, 1547.

[117] In 1549. _Ibid._

[118] _Traité des Marques Nationales_, dar M. Beneton de Morange de Peyrins. Paris, 1739.

[119] In the Record Office, Edinburgh.

[120] Une robe de velours vert couverte de Broderies, gimpeures, et cordons d'or et d'argent, et bordée d'un passement de même.

Une robe veluat cramoisi bandée de broderie de guimpeure d'argent.

Une robe de satin blanc chamarrée de broderie faite de guimpeure d'or.

Id. de satin jaune toute couverte de broderye gumpeure, etc.

Robe de weloux noyr semée geynpeurs d'or.

[121] _Dictionnaire de l'Académie._

[122] 1536-44. Sir Fred. Madden.

2 payr of sleeves whereof one of gold w^h p'chemene lace, etc.

2 prs. of sleves w^h pchmyn lase, 8/6.

[123] _Ecclesiastical Memoirs_, iii. 2, 167.

[124] State Papers, vol. 82, P. R. O.

[125] Surtees' Society, Durham, "Wills and Inventories."

[126] 1572. Thynne, in his _Debate between Pride and Lowliness_, describes a coat "layd upon with parchment lace withoute."

[127] B. M. Add. MSS. No. 5751.

[128] Roll. 1607. P. R. O.

[129] _Ibid._ 1626. 11 nightcaps of coloured satin, laid on thick, with gold and silver parchment lace, 41. 9. 9.

[130] Roll. 1630.

[131] "Eidem pro novemdecem vir[=g] et di[=m] aureæ et argenteæ pergame[=n] laciniæ pondent sexdecim un[=c] 2/[dram] 1/[scruple] venet. ... pro consua[=t] ad ornan[=d] duas sedes utroque latere thronæ in domo Parliament."--_Gt. Ward. Acc._ Car. II. xxx. and xxxi. = 1678-9.

In 1672-73 is an entry for "2 virgis teniæ pergame[=n]."

[132] Surtees' "Inventories."

[133] Bib. Nat. MSS. F. Fr. 8621.

[134] _In the Recueil de pièces les plus agréables de ce temps, composées par divers autheurs._ Paris, chez Charles Sercy, MDCLXI.

The poem is dedicated to Mademoiselle de la Trousse, cousin of Madame de Sévigné, and was probably written by one of her coterie.

[135] The Cravates or Croates soldiers had a band of stuff round their throats to support an amulet they wore as a charm to protect them from sabre-cuts. What began in superstition ended in fashion.

[136] These were, in France, Guibray, Beaucaire, and Bordeaux; in Germany, Frankfort; in Italy, Novi.

[137] All articles of luxury were to be met with at the provincial fairs. When, in 1671, Catherine of Braganza, the Duchess of Richmond, and the Duke of Buckingham, visited Saffron Walden fair, the Queen asked for a pair of yellow stockings, and Sir Bernard Gascoyne, for a pair of gloves stitched with blue.

[138] 10 Hen. III., Devon's _Issues of the Exchequer_.

[139] "No lace-woman," says Ben Jonson, "that brings French masks and cut-works." That lace was sold by pedlars in the time of Henry VIII., we find from a play, "The Four P's," written in 1544, by John Heywood. Among the contents of a pedlar's box are given "lasses knotted," "laces round and flat for women's heads," "sleeve laces," etc.

On opening the box of the murdered pedlar (_Fool of Quality_, 1766), "they found therein silk, linen, laces," etc.

[140] Defoe describes Sturbridge fair as the greatest of all Europe. "Nor," says he, "are the fairs of Leipsig in Saxony, the Mart at Frankfort-on-the-Maine, or the fair of Nuremburg or Augsburg, any way comparable to this fair of Sturbridge."

In 1423, the citizens of London and the suburbs being accused of sending works of "embroidery of gold, or silver, of Cipre, or of gold of Luk, togedre with Spanish Laton of insuffisant stuff to the fayres of Sturesbrugg, Ely, Oxenford, and Salisbury"--in fact, of palming off inferior goods for country use--"all such are forfeited."--_Rot. Parl._, 2 Hen. VI., nu. 49.

[141] "Lingua, or the Combat of the Tongue." A Comedy. 1607.

[142] This system of colporteurs dates from the early Greeks. They are termed both in Greek and Hebrew, "des voyageurs."

[143] "She came to the house under the pretence of offering some lace, holland, and fine tea, remarkably cheap."--_Female Spectator._ 1757.

[144] The centres of the lace manufacture before 1665 were:--

BELGIUM Brussels, Mechlin, Antwerp, Liége, Louvain, Binche, Bruges, Ghent, Ypres, Courtray, etc.

FRANCE (Spread over more than ten Provinces)-- Artois Arras (Pas-de-Calais). French Flanders Lille, Valenciennes, Bailleul (Nord). Normandy Dieppe, Le Hâvre (Seine-Inférieure). Ile de France Paris and its environs. Auvergne Aurillac (Cantal). Velay Le Puy (Haute-Loire). Lorraine Mirecourt (Vosges). Burgundy Dijon (Côte-d'or). Champagne Charleville, Sedan (Ardennes). Lyonnais Lyon (Rhône). Poitou Loudun (Vienne). Languedoc Muret (Haute-Garonne).

ITALY Genoa, Venice, Milan, Ragusa, etc. SPAIN La Mancha, and in Catalonia especially. GERMANY Saxony, Bohemia, Hungary, Denmark, and Principality of Gotha. ENGLAND Counties of Bedford, Bucks, Dorset, and Devon.

[145] _Industrial Arts of the Nineteenth Century_, Digby Wyatt.

[146] Francesco Nardi. _Sull' Origine dell' Arte del Ricamo._ Padova, 1839.

[147] _Ricamare. Recamar._

[148] The traditions of the Low Countries also point to an Eastern origin, assigning the introduction of lace-making to the Crusaders, on their return from the Holy Land.

[149] _Origine ed Uso delle Trine a filo di refe_ (thread), 1864. Privately printed.

[150] 1469.--Io, Battista de Nicollo d'Andrea da Ferrara, debio avere per mia manifatura et reve per cuxere et candelle per inzirare.... It. per desgramitare e refilare e inzirare e ripezare e reapicare le gramite a camixi quatordece per li signori calonexi, et per li, mansonarij le qual gramite staxea malissimamente, p. che alcune persone le a guaste, Lire 1 10. It. per reve et p. candelle, L. 0 5.

1469.--I, Baptist de Nicollo of Andrea da Ferrara, having owing to me for my making, and thread to sew, and candles to wax.... Item, for untrimming and re-weaving and waxing and refixing and rejoining the trimmings of fourteen albs for the canons and attendants of the church, the which trimmings were in a very bad state, because some persons had spoiled them, L. 1 10. It. for thread and wax, L. 0 5.

These trimmings (gramite), Cav. Merli thinks, were probably "trine."

"At Chicago was exhibited the first kind of net used in Italy as lace on garments. It is made of a very fine linen or silk mesh, stiffened with wax and embroidered in silk thread. It was in use during the fourteenth century, and part of the fifteenth" (_Guide to New and Old Lace in Italy_, C. di Brazza, 1893). This is probably the gramite, or trimmings of the albs, mentioned in the account book formerly belonging to the Cathedral of Ferrara, and now preserved in the Municipal Archives of that city.

[151] See MILAN.

[152] _Trina_, like our word lace, is used in a general sense for braid or passement. Florio, in his Dictionary (_A Worlde of Words_, John Florio, London, 1598), gives _Trine_--cuts, snips, pincke worke on garments; and _Trinci_--gardings, fringings, lacings, etc., or other ornaments of garments.

_Merlo_, _merletto_, are the more modern terms for lace. We find the first as early as the poet Firenzuola (see FLORENCE). It does not occur in any pattern book of an older date than the "Fiori da Ricami" of Pasini, and the two works of Francesco de' Franceschi, all printed in 1591.

[153] The laces, both white and gold, depicted in the celebrated picture of the Visit of the Queen of Sheba to Solomon, by Lavinia Fontana, now in the Lambeccari Gallery, executed in the sixteenth century, prove that white lace was in general use in the Italian Courts at that epoch.

[154] At present, if you show an Italian a piece of old lace, he will exclaim, "Opera di monache; roba di chiesa."

[155] Statute 2, Henry VI., 1423. The first great treaty between the Venetians and Henry VII. was in 1507.

[156] _Privy Purse Expenses of Elizabeth of York_, 1502. P. R. O. Also published by Sir H. Nicolas.

[157] Inv. Henry VIII.

[158] Gremio, when suing for Bianca, enumerates among his wealth in ivory coffers stuffed, "Turkey cushions bossed with pearl; valance of Venice gold in needlework."--_Taming of the Shrew._

[159] "One jerkyn of cloth of silver with long cuts down righte, bound with a billament lace of Venice silver and black silk."--_Robes of the late King_ (Edward VI.).

[160] "A smock of cambrik wrought about the collar and sleeves with black silke; the ruffe wrought with Venice gold and edged with a small bone lace of Venice gold."--_Christmas Presents to the Queen_, by Sir G. Carew. "7 ounces of Venice 'laquei bone' of gold and black silk; lace ruff edged with Venice gold lace," etc. _G. W. A. Eliz., passim_, P. R. O.

[161] 1587.

[162] Madame de Puissieux died in 1677, at the age of eighty.

[163] Venice points are not mentioned by name till the ordinance of 1654. See GREEK ISLANDS.

[164] _Hudibras._

[165] Italy we believe to have furnished her own thread. "Fine white or nun's thread is made by the Augustine nuns of Crema, twisted after the same manner as the silk of Bolonia," writes Skippin, 1651.

[166] _Halimedia opuntia_, Linn.

[167] That most frequently met with is the Corona of Vecellio. See APPENDIX.

[168] First mentioned in the Sforza Inventory, 1493 (see MILAN); not in the pattern-books till Vecellio, 1592; but Taglienti (1530) gives "su la rete," and "Il specchio di Pensieri" (1548), "purito in rede."

[169] Plate V.

[170] First given in the _Honesto Esempio_. 1550 and _passim_.

[171] Mentioned by Taglienti (1530), and afterwards in the _Trionfo_ (1555), and _passim_.

[172] Given in _Il Monte_, circ. 1550, but described by Firenzuola earlier. See FLORENCE.

[173] See Chap. III., notes 104 and 106.

[174] "Toile de la Pale."--A pasteboard about eight inches square, enclosed in cambric or lace, used to cover the paten when laid over the cup.

[175] The whole furniture of a room taken from a palace at Naples, comprising curtains, and vallance of a bed, window curtains, toilet, etc., of straw-coloured laces, reticella, embroidered netting, etc.; the price asked was 18,000 francs = £720. There was also much of the rose point, and a handkerchief bordered with beautiful flat Venetian point of the same colour, forming part of a trousseau. 700 francs = £28.

[176] Taglienti (1530) has _groppi_, _moreschi_, and _arabeschi_; and _Il Specchio_ (1548), _ponti gropposi_. See also the Sforza Inventory, 1493.

[177] See GENOA.

[178] Taglienti (1530) gives _a magliata_, Parasole (1600) _lavori di maglia_.

[179] _Punti a stuora_ occur in _Il Specchio_ (1548), _I Frutti_ (1564), and in the _Vera Perfettione_ (1591) the word _stuora_ (modern, _stuoja_) means also a mat of plaited rushes, which some of these interlaced patterns may be intended to imitate.

[180] _Burato._ See APPENDIX.

[181] There are many patterns for this work in _Le Pompe di Minerva_, 1642. Taglienti (1530) has _desfilato_ among his _punti_.

[182] Many other points are enumerated in the pattern-books, of which we know nothing, such as _gasii_ (_I Frutti_, 1564), _trezola_ (_Ibid_), _rimessi_ (_Vera Perfettione_, 1591), _opere a mazzette_ (Vecellio, 1591, and Lucretia Bomana, N.D.).

[183] _Tracts on Trade of the Seventeenth Century_, published by MacCulloch, at the expense of Lord Monteagle. 1856.

[184] Venice point forms a considerable item in the expenses of Charles II. and his brother James.

[185] Venice noted "for needlework laces, called points."--_Travels Thro' Italy and France_, by J. Ray. 1738.

[186] Misson, F. M., _Nouveau Voyage d'Italie_, 4me édition. La Haye, 1702.

[187] _Origine delle Feste Veneziane_, da Giustina R. Michiel. Milano, 1829.

[188] _An Itinerary, containing his Ten Yeeres Travel through Germany, Bohmerland, Switzerland, Netherland, Denmark, Poland, Italy, Turkey, France, England, Scotland, and Ireland._ Lond., 1617.

[189] 1591.

[190] See, in APPENDIX, designs for _bavari_ by Lucrezia.

[191] The entry of the Venetian ambassador, Mocenigo, is described in the _Mercure Galant_, 1709:--

"Il avoit un rabat de point de Venise.... Sa robe de damas noir avec des grandes manches qui pendoient par derrière. Cette robe etoit garnie de dentelle noir."

[192] _Letters from Italy._ So, in a play of Goldoni, who wrote in the middle of the last century, the lady has a Brussels (Angleterre) head-dress.

Don Flaminio: "Mi par bellisima cotesto pizzo Barbara: E un punto d'Inghilterra che ha qualche merito."--_Gli Amori di Zelinda e Lindoro._

In Goldoni's plays all the ladies make lace on the pillow (_ballon_), so the art of making the needle Venice point was probably at an end.

[193] "La plus belle dentelle noire fait l'espèce de camail qui, sous un chapeau noir emplumé, couvre leurs épaules et leur tête."--Madame du Boccage, 1735. _Lettres sur l'Italie._

"Quella specie de lungo capuocio di finissimo merlo pur nero, chiamato bauta."--Michiel.

[194] "L'île de Burano où l'on fabrique les dentelles."--Quadri, _Huit Jours à Venise_.

[195] _Technical History of Venetian Laces_, Urbani de Gheltof. Translated by Lady Layard. Venice, 1882.

_Origines de la Dentelle de Venise et l'École de Burano._ Venice, 1897.

Traditions of lace-making were kept alive in Venice, Cantu and Liguria during the first half of the nineteenth century by the manufacture of an inferior quality of _blonde_, once extensively made at Venice, which has since died out, owing to the revival in the production of thread-lace and guipures at Palestrina.

[196] "Velleto (veil) uno d'oro filato.

"Payro uno fodrete (pillow-case) di cambria lavorate a gugia (à l'aiguille).

"Lenzuolo (sheet) uno di revo di tele (linen thread), cinque lavorato a punto.

"Peza una de tarnete (trina) d'argento facte a stelle.

"Lenzolo uno de tele, quatro lavorato a _radexelo_ (reticello).

"Peze quatro de _radexela_ per mettere ad uno moscheto (zanzariere, mosquito curtain).

"Tarneta una d'oro et seda negra facta da ossi (bones).

"Pecto uno d'oro facto _a grupi_.

"Lavoro uno de rechamo facto _a grupi_ dove era suso le pere de Madona Biancha.

"Binda una lavorata a poncto de doii fuxi (two bobbins) per uno lenzolo."--_Instrumento di divizione tre le sorelle Angela ed Ippolita Sforza Visconti_, di Milano, 1493, Giorno di Giovedì, 12 Settembre.

[197] "La mità de uno fagotto quale aveva dentro certi dissegni da lavorare le donne."

[198] Harl. MS. No. 1419.

[199] Roll. P. R. O.

[200] P. R. O.

[201] De la Mare, _Traité de la Police_.

[202] "Statuts, Ordonnances et Reglemens de la Communauté des Maistres Passementiers, etc., de Paris, confirmez sur les anciens Statuts du 23 mars 1558." Paris, 1719.

[203] _Grand Dictionnaire Universel du Commerce._ 1723.

[204] _Voyage en Italie._ 1765.

[205] Peuchet, J., _Dictionnaire Universel de la Géographie Commerçante._ Paris, An vii. = 1799.

[206] _Letters from Italy_, by a lady. 1770.

"Questo collar scolpì la donna mia De basso rilevar, ch' Aracne mai, E chi la vinse nol faria più bello. Mira quel bel fogliame, ch' un acanto Sembra, che sopra un mur vada carponi. Mira quei fior, ch' un candido ne cade Vicino al seme, apr' or la bocia l'altro. Quei cordiglin, che'l legan d'ognitorno, Come rilevan ben! mostrando ch' ella E' la vera maestra di quest' arte, Com ben compartiti son quei punti! Ve' come son ugual quei bottoncelli, Come s' alzano in guisa d'un bel colle L'un come l' altro!... Questi merli da man, questi trafori Fece pur ella, et questo punto a spina, Che mette in mezzo questo cordoncello, Ella il fe pure, ella lo fece." --_Elegia sopra un Collaretto_, Firenzuola (circ. 1520).

[208] Rymer's _Foedera_ (38 Hen. VIII. = 1546).

[209] 4 Hen. VII. = 1488-89.

[210] _Compte des dépenses de la maison de Madame Marguerite de France, Soeur du Roi._--Bib. Nat. MSS. F. Fr. 10,394.

[211] _Comptes de la Reine de Navarre._--Arch. Nat., K. K. 170.

[212] In 1535.

[213] She died in 1862.

[214] See VENICE, 1.

[215] _Inventaire du Trésor de N. D. de Lorette._--Bib. Nat. MSS.

[216] _Letters from Italy._

[217] The _gremial_, or apron, placed on the lap of the Roman Catholic bishops when performing sacred functions in a sitting posture.--Pugin's _Glossary of Ecclesiastical Ornament_.

[218] This reminds one of the lines of Goldsmith, in his poem, "The Haunch of Venison," the giving of venison to hungry poets who were in want of mutton; he says:

"Such dainties to send them their health it would hurt; It's like sending them ruffles when wanting a shirt."

[219] _A true Relation of the Travailes, and most miserable Captivitie of W. Davies._ Lond., 1614.

[220] _An Italian Voyage, or a Complete Journey through Italy_, by Rich. Lassels, Gent. 2nd edit., Lond., 1698. A reprint, with additions by another hand, of the original edition. Paris, 1670. Lowndes' _Bibliographer's Manual_. Bohn's new edit.

[221] "Portano alcune vesti di tela di lino sottile, lunghe fino in terra, con maniche larghe assai, attorno alle quali sono attaccati alcuni merletti lavorati di refe sottilissimo."--Habiti di donna dell' Isola d' Ischia. _Degli Habiti Antichi e Moderni di Diverse Parti del Mondo di Cesare Vecellio._ Venezia, 1590.

[222] We have among the points given by Taglienti (1530), "pugliese." Lace is still made in Puglia and the other southern provinces of Naples and in Sicily.

The Contessa di Brazza says that Punto Pugliese resembled Russian and Roumanian embroidery.

[223] Brydone, _Tour through Sicily_. 1773.

[224] From the tax-books preserved in the Archives of S. George, it appears that a tax upon gold thread of four danari upon every lira in value of the worked material was levied, which between 1411 and 1420 amounted to L. 73,387. From which period this industry rapidly declined, and the workers emigrated.--Merli.

[225] Signore Tessada, the great lace fabricant of Genoa, carries back the manufacture of Italian lace as early as the year 1400, and forwarded to the author specimens which he declares to be of that date.

[226] "Laqueo serico Jeano de coloribus, ad 5s. per doz." _G. W. A. Eliz._--16 & 17 and 19 & 20. P. R. O.

[227] Dated 1639.

[228] _Garderobe de feue Madame._ 1646. Bib. Nat. MSS. F. Fr. 11,426.

[229] Le Vray Théatre d'Honneur et de Chevalerie. Paris, 1648.

[230] Queen Christina is described by the Grande Mademoiselle, on the occasion of her visit, as wearing "au cou, un mouchoir de point de Gênes, noué avec un ruban couleur de feu."--_Mém. de Mademoiselle de Montpensier._

"Item, ung peignoir, tablier et cornette de toile baptiste garnie de point de Gênes."--1644. _Inv. de la Comtesse de Soissons._

"Un petit manteau brodé et son collet de point de Gênes."--_The Chevalier d'Albret._

"Linge, bijoux et points de Gênes."--Loret, _Muse Historique_. 1650.

"Item, ung autre mouchoir de point de Gênes."--_Inv. du Maréchal de La Motte._ 1657.

[231] _Mém._, t. xiv., p. 286.

[232] Signore Tessada has in his possession a pair of gold lappets of very beautiful design, made at Genoa about the year 1700.

[233] _Letters from Italy._ 1770.

[234] Cavasco. _Statistique de Gênes._ 1840.

[235] The bobbins appear to have been made in Italy of various materials. We have _Merletti a fusi_, in which case they are of wood. The Sforza inventory gives _a doii fuxi_, "two bobbins," then _a ossi_, "of bone," and, lastly, _a piombini_; and it is very certain that lead was used for bobbins in Italy. See PARASOLE (1600).

[236] _Memorie Storiche di Santa Margherita._ Genoese pillow-laces are not made with the réseau, but joined by bars. Of Milan lace it is said, "It resembles Genoese pillow-lace in having the same scrolls and flowers formed by a ribbon in close stitch, with a _mesh_ or _tulle_ ground, whereas the Genoese lace is held together by bars."--C. di Brazza, _Old and New Lace in Italy_ (1893).

[237] Lefébure writes, "A version of these Milanese laces has been produced by using tape for the scroll forms and flowers, and filling in the open portions between the tapes by needlework stitches." The C. di Brazza calls similar lace _Punto di Rapallo_ or _Liguria_, a lace formed by a ribbon or braid of close lace following the outline of the design with fancy gauze stitches made by knotting with a crochet needle. The special characteristic of this lace is that the braid is constantly thrown over what has gone before. The design is connected by brides. A modification, where the braid is very fine and narrow, and the turnings extremely complicated, and enriched by no fancy stitches between, is _Punto a Vermicelli_.--_Old and New Lace in Italy._

[238] Communicated by Sig. Gio. Tessada, Junr., of Genoa.

[239] Gandolfi, _Considerazioni Agrario_.

[240] A small borgo, about an hour's drive from Savona, on the road leading to Genoa.

[241] Cav. Merli.

[242] In the Albert Museum of Exeter are several of these tallies marked with the names of their owners--Bianca, Maria Crocera, and others.

[243] "Many skilful lace-makers in Italy have for some time imitated the old laces and sold them as such to travellers. A Venetian lace-worker, now residing at Ferrara, can copy any old lace known" (Mrs. Palliser, 1864).

[244] This lappet, 357-68, in the Victoria and Albert Museum collection, was described by Mrs. Palliser as "Argentella," and supposed to be of Genoese workmanship. "Formerly much of it was to be met with in the curiosity shops of that city, but now it is of rare occurrence. The Duchess of Genoa possesses a splendid flounce of the same lace, with the Doria eagle introduced into the pattern. It formerly belonged to the Marchesa Barbaretta Saule" (Mrs. Palliser, _History of Lace_, 1864). Contessa di Brazza suggests that Argentella was the Italian for Argentan.

[245] Called by the people of the Riviera, _filo del baccalà di Castellaro_. Aloe fibre was formerly used for thread (Letter of Sig. C. G. Schiappapietra). It is also styled _filo di freta_ in the Venetian sumptuary ordinances.

[246] The Author has to express her grateful thanks to Signore Don Tommaso Torteroli, librarian to the city of Savona, and the author of an interesting pamphlet (_Storia dei Merletti di Genova lavorati in Albissola_, Sinigaglia, 1863), for specimens of the ancient laces of Albissola, and many other valuable communications.

[247] A word of Arabic derivation, used for denoting a fringe for trimming, whether cotton, thread, or silk.

[248] This custom of ornamenting the ends of the threads of linen was from the earliest times common, and is still occasionally met with both in the north and south of Europe. "At Bayonne they make the finest of linen, some of which is made open like network, and the thread is finer than hair" (_Ingenious and Diverting Letters of a Lady's Travels in Spain_, London, 1679).

There is a painting of the "Last Supper" at Hampton Court Palace, by Sebastian Ricci, in which the tablecloth is edged with cut-work; and in the great picture in the Louvre, by Paul Veronese, of the supper at the house of Simon the Canaanite, the ends of the tablecloth are likewise fringed and braided like the _macramé_.

[249] LACE SCHOOLS IN ITALY.--At Coccolia, near Ravenna, Countess Pasolini founded a school on her property to teach and employ the peasant women and copy antique designs. Another more recently established school near Udine, in the province of Friuli, is under the direction of the Contessa di Brazza. Among charitable institutions which interest themselves in the lace industry are the Industrial School of SS. Ecce Homo at Naples, and San Ramiri at Pisa, which was originally founded by the Grand Dukes of Tuscany in the middle of the eighteenth century to teach weaving. This industry, and that of straw-plaiting, met with no success, and the school gradually developed into an industrial school in the modern sense. There are many schools on the same system in Florence, and one (San Pelegrino) at Bologna. At Sassari, in Sardinia, the deaf and dumb children in the great institution of the "Figlie di Maria" are taught to make net lace. Torchon and Brussels pillow lace is worked under the direction of the Sisters of Providence in the women's prison at Perugia.

[250] Laborde, _Glossaire_. Paris, 1853.

[251] Statute 2 Hen. VI., c. x., 1423.

[252] Taglienti (1530) among his _punti_ gives _Ciprioto_ (an embroidery stitch).

[253] _Description de Raguse_ (Bib. Nat. MSS., F.Fr. 10,772).

[254] Points de Raguse--first mentioned in an Edict of January, 1654, by which the king raises for his own profit one quarter of the value of the "passems, dentelles, points coupez de Flandres, pointinars, points de Venise, de Raguse, de Gênes," etc. (_Recueil des Lois Françaises_). Again, the Ordinance of August, 1665, establishes the points de France, "en la manière des points qui se font à Venise, Gênes, Raguse, et autres pays étrangers," recited in the _Arrêt_ of Oct. 12th, 1666.--De Lamare, _Traité de la Police_.

[255] See VENICE.

[256] In 1661.

[257] See head of chapter.

[258] In 1667.

[259] See APPENDIX.

[260] _A Descriptive Catalogue of the Collections of Lace in the Victoria and Albert Museum_, by the late Mrs. Bury Palliser. Third edition, revised and enlarged by A. S. Cole.

[261] _Edinburgh Advertiser_, 1764.

[262] There is no corroboration of Mrs. Palliser's statement above that lace was ever made in Malta; if so, it would have been of the Genoese geometrical kind, of which Lady Hamilton Chichester adapted the designs and evolved what is now known as Maltese lace by the aid of workers imported from Genoa. The Maltese cross has been introduced into the designs as a distinguishing mark.

[263] "A lace of similar character (Maltese) has also been made successfully in the missionary schools at Madras" (Mrs. Palliser).

[264] Lefébure, _Embroidery and Lace_.

[265] In the Philippine Islands the natives work Manilla grass into a sort of drawn thread-work or tatting.

[266] 1756. _Point d'Espagne hats._--Connoisseur.

[267] Beckmann, in his _History of Inventions_, says that "It was a fashion to give the name of Spanish to all kinds of novelties, such as Spanish flies, Spanish wax, Spanish green, Spanish grass, Spanish seed, and others."

[268] A. S. Cole. "Cantor Lectures on the Art of Lace-Making."

[269] _Livre Nouveau de Patrons_ and _Fleurs des Patrons_ give various stitches to be executed "en fil d'or, d'argent, de soie, et d'autres." Both printed at Lyons. The first has no date; the second, 1549. _Le Pompe_, Venezia, 1559, has "diversi sorti di mostre per poter far, d'oro, di sete, di filo," etc.

[270] "Not many years since, a family at Cadiz, of Jewish extraction, still enjoyed the monopoly of manufacturing gold and silver lace."--_Letter from Spain_, 1863. _Merletto Polichrome_, or

## parti-coloured lace, was also invented and perfected by the Jews,

and was made in silk of various colours, representing fruit and flowers. This industry has been revived in Venice, and carried to great perfection.

[271] Senor J. F. Riano. _The Industrial Arts in Spain._--"Lace."

[272] "Spain has 8,932 convents, containing 94,000 nuns and monks."--Townsend, J., _Journey Through Spain in the Years 1786 and 1787_.

[273] The aloe thread is now used in Florence for sewing the straw-plait.

[274] Barcelona, 1892, page 225, quoted by Signor J. F. Riano. Date of

## book 1592.

[275] A. S. Cole, _Ancient Needle-point and Pillow-Lace_.

[276] This ordinance even extended to foreign courts. We read in the Mercure _Galant_, 1679, of the Spanish ambassadress, "Elle etoit vestue de drap noir avec de la dentelle de soye; elle n'avait ni dentelle ni linge autour de sa gorge."

[277] _Mercure François._

[278] They have also provided--

"14 ruffs & 14 pairs of cuffs laced, at 20s. £14

For lacing 8 hats for the footmen with silver parchment lace, at 3s. £1 4s."

_Extraordinary Expenses of his Highness to Spain_, 1623. P. R. O.

[279] Doctor Monçada, in 1660, and Osorio, in 1686, reckoned more than three millions of Spaniards who, though well dressed, wore no shirts.--_Townsend's Spain._

[280] Speaking of the apartment of Madame d'Aranda, Beckford writes: "Her bed was of the richest blue velvet, trimmed with point lace."

[281] Our English translation of _Don Quixote_ has led some authors into adducing a passage as an evidence that the art of making bone lace was already known in Cervantes' day. "Sanchica," writes Theresa Pança to her husband, the newly-appointed Governor of Baratava, "makes bone lace, and gets eight maravedis a day, which she drops into a tin box to help towards household stuff. But now that she is a governor's daughter, you will give her a fortune, and she will not have to work for it." In referring to the original Spanish we find the words rendered bone lace are "puntas de randas," signifying works of lacis or réseuil--"ouvrage de lacis ou réseuil."--Oudin. _Trésor des Deux Langues Fr. et Esp._ (1660).

[282] As early as the Great Wardrobe Account of Queen Elizabeth, 1587, P. R. O., we have a charge for bobbin lace of Spanish silk, "cum uñ tag," for the mantle, 10s. 8d.

In a letter from Prestwick Eaton to Geo. Willingham, 1631, the writer sends 1000 reals (£25), and in return desires him to send, together with a mastiff dog, some black satin lace for a Spanish suit.--_State Papers, Domestic_, Car. I., P. R. O.

[283] 1697. Marriage of Mademoiselle and the King of Spain. The Queen, says the _Mercure_, wore "une mante de point d'Espagne d'or, neuf aunes de long." 1698. Fête at Versailles on the marriage of the Duc de Bourgogne. "La Duchesse de Bourgogne pourtoit un petit tablier de point d'Espagne de mille pistoles."--_Galérie de l'ancienne Cour; ou Mém. des Règnes de Louis XIV. et Louis XV._, 1788.

1722. Ball at the Tuileries. "Tous les seigneurs etaient en habits de drap d'or ou d'argent garnis de points d'Espagne, avec des noeuds d'épaule, et tout l'ajustement à proportion. Les moindres etaient de velours, avec des points d'Espagne d'or et d'argent."--_Journal de Barbier_, 1718-62.

1722. "J'ai vu en même temps le carosse que le roi fait faire pour entrer dans Reims, il sera aussi d'une grande magnificence. Le dedans est tout garni d'un velours à ramage de points d'Espagne d'or."--_Ibid._

1731. Speaking of her wedding-dress, Wilhelmina of Bayreuth, the witty sister of Frederick the Great, writes: "Ma robe étoit d'une étoffe d'or fort riche, avec un point d'Espagne d'or, et ma queue étoit de douze aunes de long."--_Mémoires._

1751. Fête at Versailles on the birth of the Duc de Bourgogne. The coats of the "gens de cour, en étoffes d'or de grand prix ou en velours de tout couleurs, brodés d'or, ou garnis de point d'Espagne d'or."--_Journal de Barbier._

[284] _Fenix de Cataluña, compendio desus Antiguas Grandezas y Medio para Renovarlas_, Barcelona, 1683, p. 75.

[285] In the reign of William and Mary, we find, in a lace-man's bill of the Queen, a charge for forty-seven yards of rich, broad, scalloped, embossed point de Spain; and her shoes are trimmed with gold and silver lace.--B. M., Add. MSS.; No. 5751.

At the entry of Lord Stair into Paris, 1719, his servants' hats are described as laced with Spanish point, their sleeves laced with picked silver lace, and dented at the edge with lace.--_Edinburgh Courant._

In 1740, the Countess of Pomfret, speaking of the Princess Mary's wedding clothes, writes: "That for the wedding night is silver tissue, faced at the bottom before with pink-coloured satin, trimmed with silver point d'Espagne."--_Letters of the Countess of Hartford to the Countess of Pomfret_, 1740.

[286] Marquis de la Gombardière, 1634, _Nouveau Réglement Général des Finances_, etc.

[287] "Eighty children and grandchildren attended his funeral in defiance of the Edict of 19th Sept., 1664, and were heavily fined."--_La France Protestante_, par M. M. Haag. Paris, 1846-59.

[288] Garderobe de S. A. S. Mgr. le Duc de Penthièvre. Arch. Nat. K. K. 390-1.

[289] Lord Verulam on the treaty of commerce with the Emperor Maximilian.

[290] _Gentleman's Magazine_, 1745.

[291] Peyron, 1789.

[292] Madrid, 1775.

[293] _Itinéraire de l'Espagne_, Comte Alph. de Laborde, t. v.

[294] Peuchet (_Dictionnaire Universel de la Géographie Commerçante_, An. vii. = 1799), speaking of Barcelona, says their laces are "façon de France," but inferior in beauty and quality. The fabrication is considerable, employing 2,000 women in the towns and villages east of Barcelona. They are sold in Castile, Andalusia, and principally in the Indies.

[295] Madrid, 1788. Vol. ii, p. 149.

[296] _Ibid._ Vol. xvii., p. 294.

[297] "The manufacture of silk lace or blonde in Almagro occupies from 12,000 to 13,000 people" (Mrs. Palliser, 1869). Modern torchon laces are still made at Almagro to a very large extent (1901).

[298] Madrid, 1788.

[299] Madrid, 1797.

[300] Senor Juan F. Riano, _The Industrial Arts in Spain_, "Lace" (London, 1879).

[301] _Theory of Commerce_, from the Spanish of Don. Ger. de Ustariz (Lond., 1751).

[302] When the holidays of the Roman Catholic church are deducted, the work-days of the people amount only to 260 in the course of the year--fifty less than in a Protestant country.

[303] Ford, _Handbook of Spain_.

[304] 1869.

[305] "Now there are only two kinds of lace made in Spain; 'encaje de blonda,' mantillas, scarves, lace-ties, etc., in white and black; these are manufactured in Barcelona, on long pillows stuffed with long straw quite hard, covered with yellow or light blue linen. The lace is worked on a cardboard pattern, and with 'fuseaux' like the French torchon lace, the only difference being that the pillow is long and narrow and without the revolving cylinder in the centre, so that when making a long piece, or lace by the yard, the pins have to be taken out when you get to the bottom of the pillow, and the work removed to the top and continued. The mantillas, etc., are worked by pieces; that is to say, the border, flowers, and large designs, and are afterwards joined by the veil stitch.

"The second is 'encaje de Almagro'--little children of six and seven years old are taught to make it."--_Letter from Spain_, 1901.

[306] "On met de la dentelle brodée de couleur de points d'Espagne aux jupes"--_Mercure Galant._

[307] _Recherches sur le Commerce, la Fabrication et l'Usage des Etoffes de Soie, etc., pendant le Moyen Age._ Paris, 1839.

[308] Taglienti, Venice, 1530.

[309] Paris, 1546.

[310] Pelegrin de Florence, Paris, 1530.

[311] _Magazin de Londres_, 1749.

[312] Mademoiselle Dumont, foundress of the point de France fabric, in the Rue St. Denis, quitted Paris after some years and retired to Portugal: whether she there introduced her art is more than the author can affirm.

[313] It was probably a variety of point de Venise. A few years ago a specimen of point plat was exhibited in London with a Portuguese inscription and designs of figures in costumes of _circ._ 1600.

See Plate IX.

[314] The bobbins from Peniche, one of the few places in Portugal where pillow-lace is still made, are remarkably pretty. They are of ivory, agreeably mellowed by time and constant handling, and their slender tapering shafts and bulbous ends are decorated simply but tastefully with soft-tinted staining. In size they are small, measuring from three and a quarter to three and a half inches long, and these proportions are extremely good. Another variety of Peniche bobbin is made of dark brown, boldly-grained wood. The lace-makers work on a long cylindrical cushion--the _almofada_--fastened to a high, basket-work stand, light enough to be easily moved from place to place.--R. E. Head, "Some Notes on Lace-Bobbins," _The Reliquary_, July, 1900.

[315] _The Queen_, August, 1872.

"The places in Portugal where the lace industry is chiefly exercised are Peniche, Vianna do Castello, Setubal, a village in Algarve called Faro, and at the present time Lisbon, where, under the help and patronage of H. M. the Queen, a lace dépot has been instituted, in which I have worked for ten years, seeking to raise the Portuguese lace industry to an art. The designs being entirely my own original ones, I am trying to give them a character in unison with the general idea of the architecture throughout the country. I obtained gold medals for my work at the Exhibitions of 1894 at Antwerp and 1900 at Paris, besides others at Lisbon."--Letter from Dona Maria Bordallo Pinheiro, head of the Lace Industry Department at Lisbon, 1901.

[316] "There are now seven families employed in the fabrication of Maltese lace, which is made almost entirely by men; the women occupy themselves in the open-work embroidery of muslin" (1869).

[317] Those in the collegiate church of St. Peter's, at Louvain, and in the church of St. Gomar, at Lierre (Antwerp Prov.).--Aubry.

[318] Baron Reiffenberg, in _Mémoires de l'Académie de Bruxelles_. 1820.

[319] Engraved by Collaert. Bib. Nat. Grav.

[320] _Louvain dans le passé et dans le présent, formation de la ville, événements memorables, territoire, topographie, institutions, monuments, oeuvres d'art_, page 330, by Edward van Even, published 1895.

[321] M. de Barante.

[322] It goes on: "For the maiden, seated at her work, plies her fingers rapidly, and flashes the smooth balls and thousand threads into the circle. Often she fastens with her hand the innumerable needles, to bring out the various figures of the pattern; often, again, she unfastens them; and in this her amusement makes as much profit as the man earns by the sweat of his brow; and no maiden ever complains at even of the length of the day. The issue is a fine web, open to the air with many an aperture, which feeds the pride of the whole globe; which encircles with its fine border cloaks and tuckers, and shows grandly round the throats and hands of kings; and, what is more surprising, this web is of the lightness of a feather, which in its price is too heavy for our purses. Go, ye men, inflamed with the desire of the Golden Fleece, endure so many dangers by land, so many at sea, whilst the woman, remaining in her Brabantine home, prepares Phrygian fleeces by peaceful assiduity."--_Jacobi Eyckii Antwerpiensis Urbium Belgicarum Centuria._ Antw. 1651. 1 vol., 4to. Bib. Royale, Brussels.

[323] Alençon excepted.

[324] It is said to destroy the eyesight. "I was told by a gentleman well acquainted with Flanders," says McPherson, "that they were generally almost blind before thirty years of age."--_History of Commerce_, 1785.

[325] Together with the cap is preserved a parchment with this inscription: "Gorro que perteneccio à Carlos Quinto, emperad. Guarda lo, hijo mio, es memoria de Juhan de Garnica." ("Cap which belonged to the Emperor Charles V. Keep it, my son, in remembrance of John de Garnica"). J. de Garnica was treasurer to Philip II.

Séguin, however, is of opinion that this cap belonged to one of Charles V.'s successors:--

"Ce bonnet ... a dû appartenir très certainement à un de ses successeurs (of Charles V.), à cause que ce bonnet se trouve coupé et encadré par un petit entre-deux de guipure au fuseau, façon point de Gênes, qui ne pouvait pas avoir été fait du temps de Charles Quint."--Séguin, _La Dentelle_.

[326] Married, 1599, Albert, Archduke of Austria.

[327] By Andrew Yarranton, Gent. London, 1677. A proposal to erect schools for teaching and improving the linen manufacture as they do "in Flanders and Holland, where little girls from six years old upwards learn to employ their fingers." Hadrianus Junius, a most learned writer, in his description of the Netherlands, highly extols the fine needlework and linen called cambric of the Belgian nuns, which in whiteness rivals the snow, in texture satin, and in price the sea-silk--Byssus, or beard of the Pinna.

[328] An old term, still used in Scotland, for gossip, chatter.

[329] These dogs were of large size, and able to carry from 22 to 26 lbs. They also conveyed tobacco. The Swiss dogs smuggle watches.

[330] Black lace was also imported at this period from the Low Countries. Among the articles advertised as lost, in the _Newsman_ of May 26th, 1664, is, "A black lute-string gown with a black Flanders lace."

[331] Mercure Galant. 1678.

[332] "Le corsage et les manches étaient bordés d'une blanche et légère dentelle, sortie à coup sûr des meilleures manufactures d'Angleterre."

[333] We have, however, one entry in the Wardrobe Accounts of the Duc de Penthièvre: "1738. Onze aunes d'Angleterre de Flandre."

[334] _Mercure Galant._ 1678.

[335] "Deux paires de manchettes et une cravatte de point d'Angleterre."--_Inventaire d'Anne d'Escoubleau, Baronne de Sourdis, veuve de François de Simiane._ Arch. Nat. M. M. 802.

[336] _Inv. après le decès de Mgr. Mich. Philippine de la Vrillière, Patriarche, Archevêque de Bourges_, 1694. Bib. Nat. MSS. F. Fr. 11,426.

"Une toilette et sa touaille avec un peignoir de point d'Angleterre."--_Inv. de decès de Mademoiselle de Charollais._ 1758. Arch. Nat.

[337] _Mrs. Calderwood's Journey through Holland and Belgium_, 1756. Printed by the Maitland Club.

[338] Flax is also cultivated solely for lace and cambric thread at St. Nicholas, Tournay, and Courtrai. The process of steeping (_rouissage_) principally takes place at Courtrai, the clearness of the waters of the Lys rendering them peculiarly fitted for the purpose. Savary states that fine thread was first spun at Mechlin.

[339] It is often sold at £240 per lb., and in the Report of the French Exhibition of 1859 it is mentioned as high as £500 (25,000fr. the kilogramme). No wonder that so much thread is made by machinery, and that Scotch cotton thread is so generally used, except for the choicest laces. But machine-made thread has never attained the fineness of that made by hand. Of those in the Exhibition of 1862, the finest Lille was 800 leas (a technical term for a reel of 300 yards), the Brussels 600, the Manchester 700; whereas in Westphalia and Belgium hand-spun threads as fine as 800 to 1000 are spun for costly laces. The writer has seen specimens, in the Museum at Lille, equal to 1200 of machinery; but this industry is so poorly remunerated, that the number of skilful hand-spinners is fast diminishing.

[340] _Dictionnaire du Citoyen._ 1761.

[341] _Comptes de Madame du Barry._ Bib. Nat. MSS. F. Fr. 8157 and 8.

[342] "Trois aubes de batiste garnies de grande dentelle de gros point d'Angleterre."--_Inv. des Meubles, etc., de Louis, Duc d'Orléans, decedé 4 fev. 1752._ (Son of the Regent.) Arch. Nat. X. 10,075.

"Deux aubes de point d'Angleterre servant à Messieurs les curez.

"Une autre aube à dentelle de gros point servant aussy à M. le curé."--_Inventaire et Description de l'Argenterie, Vermeil Doré, Ornemens, Linge, etc., appartenant à l'Oeuvre et Fabrique de l'église Saint-Merry à Paris._ 1714. Arch. Nat. L.L. 859.

[343] "Une coëffure à une pièce d'Angleterre bride et réseau."--_Comptes de Madame du Barry._

"1 aune et quart d'Angleterre mêlé."--_Ibid._

[344] Mrs. Delany writes ("Corr.," vol. 2): The laces "I have pitched on for you are charming; it is grounded Brussels."

"Deux tours de gorge à raiseau, un tour de camisolle à bride."--1720. _Inv. de la Duchesse de Bourbon._ Arch. Nat. X. 10,062-4.

"Six peignoirs de toille fine garnis par en haut d'une vielle dentelle d'Angleterre à raiseau."--_Inv. de decès de Monsieur Philippe petit fils de France, Duc d'Orléans, Regent du Royaume, decedé 2 décembre, 1723._ Arch. Nat. X. 10,067.

The "fond écaillé" often occurs.

"Une coëffure à une pièce de point à l'écaille;

"Une paire de manchettes de cour de point à raizeau, et deux devants de corps de point à brides à écailles."--1761. _Inv. de la Duchesse de Modène._ Arch. Nat. X. 10,082.

"Deux barbes, rayon, et fond d'Angleterre superfin fond écaillé."--_Comptes de Madame du Barry._ See her _Angleterre_, Chap. XI. note 26.

[345] To which machinery has added a third, the tulle or Brussels net.

[346] The needleground is three times as expensive as the pillow, because the needle is passed four times into each mesh, whereas in the pillow it is not passed at all.

[347] "Trois oreillers, l'un de toille blanche picquée garnis autour de chacun d'un point plat."--_Inv. de la Duchesse de Modène._

[348] _Tableau de Paris_, par S. Mercier. Amsterdam, 1782.

[349] "Fashion." J. Warton.

[350] Brussels lace-makers divide the plat into three parts, the "mat," the close part answering to the French _toilé_ (